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I'd say that's actually a good thing (for film).
Imagine if Ford mined all the metal and smelted it and pressed and moulded it and then bolted it together. By not doing the mining and smelting, they're more efficient at what they do best, moulding it and bolting it into a car.
Kodak stopping making acetate is probably going to help them, get someone else to do it more efficiently and just buy it as an input, then do all the hard stuff like coating the stuff.
this is a bit more promising too, now they've got contracts with every major studio they know at least how much the're going to produce (no, they're not all using RED and C300s)
(no, they're not all using red and c300s) LOL :rolleyes:
I have to wonder.... if somehow we were moving moving from digital to film..... would we be looking for film that reproduced that classic, romantic digital look?
The upper end of digital vid cameras have the better exposures latitude & dynamic range - haven't gotten to digital imax.... yet.... -
I know these upper end cameras cost a boatload - but so does processing thousands of feet of film.
Just a ponder :)
Introducing the new Fuji Provia 100C, with square-shaped and 21 million perfectly aligned grains to recreate that classic pixellated look of yester-year's 5D mk3.Quote:
Originally Posted by Busted Knuckles
While you're processing your film in the new APP-developer, you can listen to your new sound system, a turntable with Tube amplifier, over-corrected and with a bit of switching noise thrown in to re-create that classical 'clinical and dead' sound of CDs...
Don't forget the wow and flutter from that turntable. And, the rumble. Plus, the compressed dynamic range. That's classic!Quote:
Originally Posted by Dr Croubie